Los Angeles Times November 15, 2002
MOVIE REVIEW
'Bánk Bán'
A Hungarian legend is stirring in its translation to the screen.
By Kevin Thomas, Times Staff Writer
"Bánk Bán," regarded as the most important musical drama of Hungary's national cultural heritage, has at last reached the
screen in all its grandeur in a textbook example of how to turn an opera into a film in a manner in which the two art forms
complement instead of canceling out each other.
To accomplish this, Oscar-winning cinematographer Vilmos Zsigmond was lured back to his homeland, which he fled in
1956 during the Hungarian uprising, to shoot his first feature ever in Hungary. Zsigmond teamed with first-time director
Csaba Káel and screenwriter Gábor Mészöly, who adapted József Katona's play, which in turn inspired the 1852 Ferenc
Erkel opera with its libretto by Béni Egressy. "Bánk Bán" the opera has never before been filmed, but Katona's play was
filmed in 1914 by Mihály Kertész, who in 1926 became Warner Bros.' legendary Michael Curtiz, director of "Casablanca"
and other Hollywood classics.
So much for the heavy-on-the-accents pedigree of the opera, based on 13th century legend. With actual early Gothic
castles and unspoiled countryside as its settings, the filmmakers respect the solemn majesty of the opera, but Zsigmond,
shooting in muted color, brings to it a remarkable fluidity and cinematic grace. The filmmakers furthermore take the
opportunity, in the opera's move from stage to screen, to reveal considerable psychological complexity in the characters.
The word "bán," a long-ago discarded term designating noble rank, in this instance refers to the status of Bánk (Atilla Kiss
B.) as viceroy of Hungary. It is 1213, and Endre II (Kolos Kováts) is off fighting foreign wars, leaving his beloved Queen
Gertrud (Éva Marton, who possesses a shrewd and commanding presence). Gertrud is Meranian rather than Magyar and
wastes no time in moving her countrymen into positions of power.
While off traveling through the countryside to ascertain the condition and needs of the people, Bánk has left his beautiful,
adored young wife Melinda (Andrea Rost) in the care of the court as a lady-in-waiting to the queen. As Bánk is discovering
widespread famine and oppression, the honorable and faithful Melinda is finding herself at the mercy of Gertrud's younger
brother, Prince Otto of Meran (Dénes Gulyás). His passionate pursuit of Melinda is encouraged by Gertrud, who also
pressures Melinda to submit to her brother's advances.
The filmmakers respect the heady 19th century melodrama inherent in the material yet enrich it in revealing the conflict in
Otto between love and lust. Similarly, Bánk himself is conflicted as a man who takes honor and duty seriously and thus is
slow to believe the worst about Gertrud.
It would take an opera expert to judge the merits of "Bánk Bán" and its renowned singers. But to the layman Erkel's music
soars, and the singers' voices sound glorious. Erkel's emotion-charged music has been compared to that of
middle-period Verdi, and "Bánk Bán" is an altogether stirring experience in an inspired meld of the visual and the aural.
Erkel and Egressy wrote the opera at a time when Hungary was under the domination of the Hapsburgs, and given the
country's turbulent history, it is clear why "Bánk Bán," as a fervent protest of foreign occupation and an equally impassioned
expression of national pride, resonates so strongly with the Hungarian people to this day.
Coincidentally, "Bánk Bán" became the subject of heated parliamentary debate last year as one of a series of
state-supported productions intended to celebrate Hungarian history and culture at a time when so many Hungarian
filmmakers, in the post-Communist era, are struggling to survive. While it is highly unlikely that "Bánk Bán" will reach a
wide audience in the U.S., it certainly looks as if every cent of the film's reported $2.6-million budget is on the screen.
'Bánk Bán'
MPAA rating: Unrated
Times guidelines: Mature themes, some violence
Atilla Kiss B. ... Bánk Bán, viceroy of Hungary Andrea Rost ... Melinda, his wife Éva Marton ... Queen Gertrud Dénes Gulyás
... Otto, prince of Meran, her brother Kolos Kováts ... Endre II, king of Hungary
A Bunyik Entertainment release of an Ezüsthajó Produkció Film Kft. Director Csaba Káel. Producer András Wermer.
Screenplay Gábor Mészöly; based on the play by Jószef Katona. Music Ferenc Erkel. Libretto Béni Egressy.
Cinematographer Vilmos Zsigmond. Editor Thomas Ernst. Costumes Rita Velich. In Hungarian, with English subtitles.
Running time: 1 hour, 57 minutes.
Exclusively at the Monica 4-Plex through Thursday, 1323 2nd St., Santa Monica
MOVIE REVIEW
'Bánk Bán'
A Hungarian legend is stirring in its translation to the screen.
By Kevin Thomas, Times Staff Writer
"Bánk Bán," regarded as the most important musical drama of Hungary's national cultural heritage, has at last reached the
screen in all its grandeur in a textbook example of how to turn an opera into a film in a manner in which the two art forms
complement instead of canceling out each other.
To accomplish this, Oscar-winning cinematographer Vilmos Zsigmond was lured back to his homeland, which he fled in
1956 during the Hungarian uprising, to shoot his first feature ever in Hungary. Zsigmond teamed with first-time director
Csaba Káel and screenwriter Gábor Mészöly, who adapted József Katona's play, which in turn inspired the 1852 Ferenc
Erkel opera with its libretto by Béni Egressy. "Bánk Bán" the opera has never before been filmed, but Katona's play was
filmed in 1914 by Mihály Kertész, who in 1926 became Warner Bros.' legendary Michael Curtiz, director of "Casablanca"
and other Hollywood classics.
So much for the heavy-on-the-accents pedigree of the opera, based on 13th century legend. With actual early Gothic
castles and unspoiled countryside as its settings, the filmmakers respect the solemn majesty of the opera, but Zsigmond,
shooting in muted color, brings to it a remarkable fluidity and cinematic grace. The filmmakers furthermore take the
opportunity, in the opera's move from stage to screen, to reveal considerable psychological complexity in the characters.
The word "bán," a long-ago discarded term designating noble rank, in this instance refers to the status of Bánk (Atilla Kiss
B.) as viceroy of Hungary. It is 1213, and Endre II (Kolos Kováts) is off fighting foreign wars, leaving his beloved Queen
Gertrud (Éva Marton, who possesses a shrewd and commanding presence). Gertrud is Meranian rather than Magyar and
wastes no time in moving her countrymen into positions of power.
While off traveling through the countryside to ascertain the condition and needs of the people, Bánk has left his beautiful,
adored young wife Melinda (Andrea Rost) in the care of the court as a lady-in-waiting to the queen. As Bánk is discovering
widespread famine and oppression, the honorable and faithful Melinda is finding herself at the mercy of Gertrud's younger
brother, Prince Otto of Meran (Dénes Gulyás). His passionate pursuit of Melinda is encouraged by Gertrud, who also
pressures Melinda to submit to her brother's advances.
The filmmakers respect the heady 19th century melodrama inherent in the material yet enrich it in revealing the conflict in
Otto between love and lust. Similarly, Bánk himself is conflicted as a man who takes honor and duty seriously and thus is
slow to believe the worst about Gertrud.
It would take an opera expert to judge the merits of "Bánk Bán" and its renowned singers. But to the layman Erkel's music
soars, and the singers' voices sound glorious. Erkel's emotion-charged music has been compared to that of
middle-period Verdi, and "Bánk Bán" is an altogether stirring experience in an inspired meld of the visual and the aural.
Erkel and Egressy wrote the opera at a time when Hungary was under the domination of the Hapsburgs, and given the
country's turbulent history, it is clear why "Bánk Bán," as a fervent protest of foreign occupation and an equally impassioned
expression of national pride, resonates so strongly with the Hungarian people to this day.
Coincidentally, "Bánk Bán" became the subject of heated parliamentary debate last year as one of a series of
state-supported productions intended to celebrate Hungarian history and culture at a time when so many Hungarian
filmmakers, in the post-Communist era, are struggling to survive. While it is highly unlikely that "Bánk Bán" will reach a
wide audience in the U.S., it certainly looks as if every cent of the film's reported $2.6-million budget is on the screen.
'Bánk Bán'
MPAA rating: Unrated
Times guidelines: Mature themes, some violence
Atilla Kiss B. ... Bánk Bán, viceroy of Hungary Andrea Rost ... Melinda, his wife Éva Marton ... Queen Gertrud Dénes Gulyás
... Otto, prince of Meran, her brother Kolos Kováts ... Endre II, king of Hungary
A Bunyik Entertainment release of an Ezüsthajó Produkció Film Kft. Director Csaba Káel. Producer András Wermer.
Screenplay Gábor Mészöly; based on the play by Jószef Katona. Music Ferenc Erkel. Libretto Béni Egressy.
Cinematographer Vilmos Zsigmond. Editor Thomas Ernst. Costumes Rita Velich. In Hungarian, with English subtitles.
Running time: 1 hour, 57 minutes.
Exclusively at the Monica 4-Plex through Thursday, 1323 2nd St., Santa Monica